"Tsar of Instruments"
Russian Organ Music
Alexander Glazunov (1865-1936)
Prelude and Fugue in D major, Op. 93 [8:45]
Prelude and Fugue in D minor, Op. 98 [8:16]
Fantasy, Op. 110 [16:34]
Reinhold Gliere (1874-1956)
Fugue on a Russian Christmas Song [2:21]
Mikhail Glinka (1804-1857)
Fugue in E flat major [2:20]
Fugue in A minor [2:47]
Fugue in D major [2:32]
Alexander Grechaninov (1864-1956)
Three Pieces, Op. 159 [11:01]
Sergei Rachmaninov (1873-1943)
Andante in F major for Harmonium (from Trio elegiaque, Op. 9) [2:48]
Segei Taneyev (1856-1915)
Choral Variations [6:39]
Dmitri Shostakovich (1906-1975)
Credo from The Gadfly, Op. 97 [3:55]
Cathedral Service from The Gadfly [2:31]
Iain Quinn, organ
Recorded at Winchester Cathedral, January 2002
Released February 2003
Chandos CHAN 10043 [70:51]
Russian organ music does not have the glorious history possessed by many
other European countries, because the Russian Orthodox Church does not
allow the playing of musical instruments in connection with religious
services. Only well into the 19th century did organ composition begin
to gain any currency thanks to composers such as Mikhail Glinka who wrote
a few fugues in the Bachian style.
Recordings devoted to Russian organ music are not frequent, so it is
with thanks that I welcome this Chandos disc performed by Iain Quinn.
Actually, the thanks is on the mild side. The Glazunov, Gliere, and
Glinka pieces taste like Bach and sound like Bach; however, there is a
wide gulf in inspiration and Bach is clearly more commanding and artistic
than the Russian composers. Put another way, when I want to listen to
Bachian preludes and/or fugues, I would much prefer to go directly to
Bach. I must admitthat the Gliere is a charming little piece that reminds
me of the music of the early Baroque composer Matthias Weckmann, but the
Glinka fugues are only marginally rewarding. However, Glazunov is quite
compelling and comes closest to approaching Bach's architectural expertise.
But even the Glazunov works lose some of their luster on repeated hearings.
Alexander Grechaninov's Three Pieces have their virtues, especially the
Musette with its droning voices; however, the first and third pieces
have a drab and solemn quality in Quinn's hands. Likely the most enjoyable
work on the disc is the Andante from Rachmaninov's Trio elegiaque, music
so beautiful that it would sound sublime even on an accordian.
The Taneyev work consists of a slow chorale theme with three variations.
This is very much a contrapuntal work, and Taneyev displays exceptional
command of counterpoint. Unfortunately, the musical inspiration is
rather slight, a condition that sometimes inflicts Taneyev's compositions.
Shostakovich is not known for his organ music, but you can't keep a master
composer down. The Credo, built on a 10-bar bass ground, is uplifting
though heavy in texture. The Cathedral Service is self-descriptive with
its solemnity and melancholy personality.
That's about it for the music - two thumbs up for the Rachmaninov,
one thumb up Glazunov, Gliere, and Shostakovich, thumbs in neutral for
Grechaninov, and thumbs down for the Glinka fugues and the Taneyev Choral
Variations.
As for Iain Quinn, he performs admirably, but is a little lackluster;
I would have appreciated greater rhythmic vitality and flexibility in
phrasing. Essentially, the musical program needs some helpful intervention
from the performer, and Quinn doesn't offer it. The organ isn't a Russian
one, but was built in 1851 and is a fine instrument for the program.
Don's Conclusions: With music that is not consistently rewarding and
performances somewhat problematic, I could simply advise taking a pass
on the Chandos disc. Alternatively, recordings of this repertoire are
very infrequent, and it is certainly interesting to hear what some Russian
composers were doing when they got their hands on an organ. You won't
find the best of Russian music on this disc, but organ enthusiasts might
want to investigate. I consider the disc a speciality item and give it
a mild recommendation.
Don Satz
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